Skip Navigation

Frame by Frame

Archive for the ‘Video Games’ Category

Video Games: The Romantic Apocalypse

Thursday, August 13th, 2015

There’s a new video game out that deals with the end of the world – in a very different fashion.

As Keith Stuart notes in The Guardian, “It’s been three years since The Chinese Room, a tiny studio currently working out of a modest office building in Brighton, started work on . Back then, co-founder Dan Pinchbeck had the idea of creating a game about the end of the world, but from a very different perspective than titles like Fallout and Last of Us, with their grand visions of ruined American cities. Influenced by science fiction writers John Wyndham and John Christopher, he and his team became interested in the idea of what Brian Aldiss once called the ‘cosy catastrophe’ – a resolutely British idea of the apocalypse, containing very little violence or explosive trauma, experienced by small communities rather than mass populations.

‘We talked about it, and we said, well, what is the important thing about the end of the world?’ says Pinchbeck. ‘It’s not about cities being consumed in fire. Take the movie 2012 – the whole of California vanishes and you don’t feel a thing, it’s just ridiculous. The apocalypse is about people, and the connections between them. What’s really touching is parents waiting for their kids to come home – and what they’re worried about is that the buses aren’t running, not that the world is ending. It’s the little moments that get you.’

The game presents a fictitious Shropshire village named Yaughton which is rendered in quite staggering physical detail, using Crytek’s Cryengine technology. Everybody’s Gone to the Rapture, then, takes place in a small valley in Shropshire in the summer of 1984. Viewed from the first-person perspective, the player is simply dropped at the outskirts of the village, with no instructions and no idea about what’s happened. From here, you are free to explore the environment, investigating empty houses, shops and barns, looking for clues. There are notes to read, radio recordings to listen to and computer screens to study. The first thing you interact with is a Commodore 64, its flickering monitor showing weird footage and repeating some sort of code, like a numbers station.

It is, in some ways, a natural evolution of the sub-genre that Chinese Room helped found with its debut game Dear Esther, a hugely atmospheric mystery set on a remote Hebridean island. The style came to prominence in 2013 with the title Gone Home, about a woman returning to her family home and finding it deserted. Often termed ‘notgames’ or ‘walking simulators’, these narrative adventures eschew familiar ludic elements like fighting and level progression, instead providing a single location and a set of environmental clues with which to uncover the story.

The genre has proved weirdly controversial, prompting angry dismissals from some gamers, who even question whether titles like Gone Home and Dear Esther are games at all. The Chinese Room team aren’t worried. ‘There’s a long tradition in games, of sections where not much happens. I think the best part of the whole Dead Space trilogy is the return to the Ishimura where you spend 45 minutes just thinking: “OK, when’s it going to happen?” That’s the scariest part.’”

You can read much more on the end of the world – and the end of people – in Gwendolyn Audrey Foster’s recent book Hoarders, Doomsday Preppers and The Culture of the Apocalypse; a fascinating look at the whole concept of de-peopled spaces, and how it’s so hard for us to imagine a world without us – something that will someday surely happen. Foster’s book, and this game, both share a common concept; the visualization of a world in which human agency no longer exists.

Sounds like a refreshing change from the usual video mayhem; read the whole article here.

Thursday, January 9th, 2014

I’ve moved my website to – follow me there!

Take a look at the image above, and you’ll see how it works.

The new website is much cleaner, has more information, and works more smoothly.

At the top left, there’s an “about” tab, where you can also download my complete cv as a pdf; next to that there are two tabs covering the 32 books that I’ve written, with the covers on display as clickable links that go directly to information on each title; next to that is a tab that goes to some 30 online articles of mine that are available out of the nearly 100 that I have written over the years; then comes a link to the Frame by Frame videos that I’ve made, with a clickable link to a carousel playlist that starts automatically and takes you through more than 70 titles; then a tab for this blog; then a tab for my film work — I have a show coming up in New York this Spring, 2014 — and finally a contact page, where you can e-mail me if you wish to.

This is where you will find me from now on; the old website is dead, so let’s move on into the future.

North Korean Red Dawn: Olympus Has Fallen

Friday, March 22nd, 2013

I have a new essay out today on the film Olympus Has Fallen in the journal Film International.

As I write, “part Kim Jong-un’s ‘the West must fall’ fantasy come to life, part right wing wet dream and all around militarist anthem, Antoine Fuqua’s Olympus Has Fallen (2013) is an updated riff on John Frankenheimer’s Manchurian Candidate (1962; though we’ve already had that in 2004, directed by Richard Condon) for a new, more merciless generation.

US President Benjamin Asher (Aaron Eckhart) is taken hostage by North Korean fanatic Kang (Rick Yune) in the White House bunker, along with Secretary of Defense Ruth McMillan (Melissa Leo) and other members of the White House inner circle, and it’s up to disgraced Secret Service Agent and professional loner Mike Banning (Gerard Butler) to get him out and foil Kang’s plot.

Banning has fallen into official disfavor as the result of an accident in which the president’s wife, Margaret (Ashley Judd, in a brief cameo) plunges to her death in a frozen river on the way to a Presidential fundraiser on a snowy evening; though Banning really isn’t responsible, and saves the President from an equally watery grave, he’s racked by guilt – you know, he’s got to make up for it somehow.

Relegated to a desk job, Banning longs to get back into action, and the unfolding crisis gives him the perfect opportunity to pull a Bruce Willis/Die Hard riff and almost single handedly bring down the invading terrorist force. All around him, cops, civilians, and military personnel are being shot to ribbons, but somehow Banning survives the considerable amount of gunfire to worm his way into the White House basement, and start a counteroffensive.”

You can read the entire essay by clicking here, or on the image above.

The Rules of the Game

Monday, August 22nd, 2011

No, it’s not about Jean Renoir’s 1939 classic, The Rules of the Game, though the society in collapse that the film depicts resonates eerily in our contemporary era.

It’s about a report by Tricia Duryee in the Wall Street Journal, announcing Google+’s new video games policy; instead of taking a 30% cut of the action as Facebook and Apple do, Google+ will only take 5%, and leave 95% for the game manufacturers, although this is an introductory offer, and once they get market share, who knows what will happen?

As Duryee reports, “Google+ Games Product Manager Punit Soni explained that initially Google will share 95 percent of the revenue from virtual goods sold with the developers and keep only five percent for itself. That confirms what I originally reported hearing from sources last month.Soni said it could change in the future, but pricing today will be based on the company’s new in-app payments platform, which charges five percent for microtransactions on the Web (unlike the 30 percent Google charges on Android).”

Let the games begin!

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at or

RSS Frame By Frame Videos

  • Frame by Frame: Science Fiction Futurism
    UNL Film Studies Professor Wheeler Winston Dixon discusses the 2015 Ridley Scott film "The Martian," and the accuracy (and often inaccuracy) of science-fiction films at predicting real advancements in science and technology. […]
  • Frame by Frame: Batman v Superman
    UNL Film Studies Professor Wheeler Winston Dixon discusses the genre of comic book movies in the context of "Batman v Superman."  […]

In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website